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In your situation, I wouldn't think twice about it. Start by getting the best drum mix possible, and then tuck some samples up underneath. With that route you're basically using the samples for their transients and consistency. If that won't work, go full tilt. If you can find some good hits in the songs that you can process via compression, eq, and/or transient shaping, that's the best. Otherwise, try to match up the samples with the overall tone of the kit. A poppy, tightly tuned steel pic will not (always) mesh well with a fat, medium tuned maple snare.
Make sure you multisample, and automate your levels for drum rolls and fills. Toms have always been the most difficult, so automation is your friend there. Watch your ambiance and panning, and try not to make the samples poke out too much.
I can name a few regional engineers that seem to sample the s%^t out of their mixes. There's a particular studio in a neighboring state that uses the same samples for just about everything. It's usually a cop out for poorly tracked drums or bad rooms. It ends up homoginizing music for the sake of resume consistency and it's starting to become the standard, but that's a whole separate topic alltogether.
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